I must report a story which was first released in the most renowned blog outlining the murder and replacement of James Paul McCartney of Beatles fame, back in 1966. It is the PlasticMacca blog run by Tina Foster.

This has apparently opened a PANDORA'S BOX !

It brings evidence of the replacement of James Paul McCartney by a CLONE which is yet another stone to the edifice of the CLONE CONSPIRACY. The original bloodline donor of DNA for the Clone we shall call hereafter FAUL McCartney, was the Roman Emperor Justinian.

The choice was made for the first clone of Justinian to replace London's most celebrated Buffoon, and later for the second one to replace the most beloved of The Beatles, James Paul McCartney.

Joseph Grimaldi beneath his makeup

The Times noted in 1813:

Grimaldi is the most assiduous of all imaginable buffoons and it is absolutely surprising that any human head or hide can resist the rough trials he volunteers. Serious tumbles from serious heights, innumerable kicks, and incessant beatings come on him as matters of common occurrence, and leave him every night fresh and free for the next night's flagellation.

Regarding the true identity of Joseph Grimaldi, we can see on his wikipedia page that he is clearly at least two different individuals, for there are aesthetic divergences which are far too great to be dismissed as merely due to artistic interpretation of a sitter or the ravages of aging. Just like James Paul McCartney and his current replacement impostor Sir Faul, we will notice that the later version of Joseph Grimaldi is clearly identical to the character who has replaced the beloved Beatle "Paul".

Identical to Sir Faul two hundred years ago

The above engraving is found on the Frontispiece of his biography edited by Charles DIckens under the pseudonym BOZ, yet another engraving conforms this resemblance.

DIckens' book about the life of Joseph Grimaldi

The other engraving showing Joseph Grimaldi's impostor

It is interesting to note that he is also presumably an individual Cloned from the DNA of Roman Emperor Justinian, used to replace Joseph Grimaldi, who was most likely murdered as well as to replace Paul McCartney of the Beatles who was likely murdered in 1966. This can be attested to not only by the Mosaic portrait of this Byzantine Roman Emperor, but also by an engraved medal which survives him.

Medal of Emperor Justinian

Justinian's portrait on Recto

Then it comes to the identity of the original genuine Joseph Grimaldi who was presumably murdered and replaced. His painted portraits are too well executed for this difference to be attributed to the painter's lack of skill or to artistic license, for it is clearly not the same person. In fact, he looks far more like current day actor identified by Someotherguy as possibly being Robert Downey Jr.

The original Joseph Grimaldi and Robert Downey Jr

The logical premise which can be drawn from this potential cloning of the original creator of modern clowns and master of Pantomime, would be that his talents were not left wasted by the Clone Conspirators, who recovered his DNA and used it to Clone a modern day actor, Robert Downey Jr.

There is another individual who worked closely with Joseph Grimaldi, presumably before his replacement, who first appeared on the scene as Ballet Master during a theatre theatre production where they both collaborated. He looks quite familiar, bearing an uncanny resemblance to the original James Paul McCartney, his first name also happens to be James.

Ballet Dancer and Choreographer James D'Egville

Whether his DNA was also used for Cloning purposes in the 20th century, I leave such conclusions to the reader, contenting myself with signaling an uncanny resemblance between these two individuals.

...he [Joseph Grimaldi] was asked to choreograph John Tobin's play, The Honey Moon, at Drury Lane on short notice. He accepted on the proviso that his wages be increased for the show's entire run and not just until a new dancing instructor was found. The Drury Lane management agreed to pay Grimaldi £2 more per week.[86] A few weeks into his new assignment, management appointed James D'Egville as the new ballet master. D'Egville's debut production was Terpsichore's Return, in which Grimaldi played Pan, a role which he considered to be one of his best assignments to date.Wikipedia page for Joseph Grimaldi

Capitalizing on the fame and reputation of the original in order to sway the ways and customs of the population was the agenda, just as in the case of Paul McCartney's assassination and replacement with a similar criminal Modus Operandi, one and a half centuries later.

Joseph Grimaldi influencing British Society through comedy

Interestingly, the contrary was the case for Joseph Grimaldi who was widely praised even for performances he was himself unsatisfied with. A case in point, taken from his Wikipedia page:

Mother Goose was a runaway success with its London audiences and earned an extraordinary profit of £20,000. It completed a run of 111 performances over a two-year residency, a record for any London theatre production at the time. Grimaldi, however, considered the performance to be one of the worst of his career and became depressed. Critics thought differently, attributing the pantomime's success to Grimaldi's performance.[48] It prompted one critic from European Magazine to write: "We have not for several years witnessed a Pantomime more attractive than this: whether we consider the variety and ingenuity of the mechanical devices [or] the whim, humour, and agility of the Harlequin, Clown and Pantaloon". Kemble stated that Grimaldi had "proved himself [as] the great master of his art", while the actress Mrs Jordan called him "a genius ... yet unapproached". The production regularly played to packed audiences.

Here again we have a similar phenomenon of the hijacking of an extraordinary reputation built upon genuine talent which is widely recognized. Another parallel creating a pattern is his replacement by a Clone of Justinian devoid of such talent, but who carries out a propagandist social engineering agenda for his handlers who Cloned him.

And the rabbit hole goes deeper yet...

Echoing the mysteries surrounding the use of Clones in the entertainment industry for at least two centuries, as per this compelling evidence. The son of Joseph Grimaldi, named Joseph Samuel William Grimaldi but more widely known as J.S. Grimaldi, bears an uncanny resemblance to yet another contemporary personality.

Let us note that the original Joseph Grimaldi's facial structure was partially recognizable under his makeup, as being the one portrayed in the two oil paintings from his prime. The engraving shows him quite changed, in fact changed for an impostor who is gaunt and has very different features and bone structure. The original Clown shown represented here, is clearly chunkier and despite the makeup still looks like a disguised Robert Downey Jr.

The original Joseph Grimaldi who invented the modern clown makeup

However, there are other representations where he doesn't at all look like the original, but more like the Justinian Clone who replaced him. It is the case of this image where he is in a pantomime with his son J.S. Grimaldi.

Impostor of Joseph Grimaldi with J.S. Grimaldi ?

But the rabbit hole gets deeper yet, as Joseph Grimaldi's son is not entirely unknown to us, given that it seems that he may have been an identical Clone to one which graces the silver screen in our current times, none other than Hollywood actor Nicholas Cage.

Joseph Samuel William Grimaldi in a period engraving

The already known Clone Nicholas Cage was mentioned earlier in the pages of this thread... and we can legitimately ask ourselves the question as to whether or not the Grimaldi son and Nicholas Cage were - just as the Grimaldi impostor and the Paul McCartney impostor were both Cloned from Emperor Justinian - possibly from a series of Clones sourced from far more ancient DNA from a Royal Bloodline ?

Interestingly, the case of Joseph Grimaldi's son is rather mystifying, as he changed his behavior towards his "father" suddenly, which could possibly be an act of defiance towards his impostor. At that very time he noted a rapid end to his career, seeing opportunities diminish while coming onto hard times. Finally, he died of an alleged suicide, after a failed attempt at slitting his own throat, a rare method of taking one's own life if there ever was one. His alleged parents were also taken with a common attraction to suicide, allegedly. More information can be found in the Joseph Grimaldi Wikipedia page.

The relationship between Grimaldi and his son first became strained during the early 1820s. JS, who had made a career of emulating his father's act, received favourable notices as Clown, but his success was constantly overshadowed by that of his father. He became resentful of his father and publicly shunned any association with him. JS became an alcoholic and was increasingly unreliable. In 1823, he became estranged from his parents, who saw their son only occasionally over the next four years, as JS went out of his way to avoid them. They communicated only through letters, with Grimaldi often sending his son notes begging for money. JS once replied: "At present I am in difficulties; but as long as I have a shilling you shall have half". However, there is no record of him ever sending money to his father. JS finally returned home in 1827, when the Grimaldis were awakened one night to discover their son standing in the street, feverish, emaciated and dishevelled....In 1832, Grimaldi, Mary and their son moved to Woolwich,[161] but JS often abused his parents' hospitality by bringing home prostitutes and fighting in the house with his alcoholic friends.[162] He moved out later that year and died at his lodgings on 11 December 1832, aged 30.[163][164] With Grimaldi almost crippled, and Mary having suffered a stroke days before JS's death, they made a suicide pact. They took some poison, but the only result was a long bout of stomach cramps. Dismayed at their failure, they abandoned the idea of suicide.Wikipedia page of Joseph Grimaldi

For more details of the life of this uncanny lookalike of Nicholas Cage, you can consult Wikipedia page of JS Grimaldi also. Here is an excerpt below.

JS Grimaldi died at age 30 on 11 December 1832 in Tottenham and was interred at Whitefield's Tabernacle. The cause of his death remains a mystery and was treated with some suspicion. Although he had been an alcoholic and had suffered from epilepsy and bouts of mental illness for many years, there were suspicions that he had been poisoned or had died as a result of injuries sustained in a drunken brawl. His parents were devastated by his death and attempted suicide but survived. His mother died in 1834, and his father survived him by five years.J.S. Grimaldi Wikipedia page

We can note that it there were suspicions of poisoning, and also that it is said that days later both his parents were apparently poisoned. This is an unlikely coincidence that 3 members of the same family should seek to poison themselves at the same time. A criminal poisoning sounds more likely, especially if they knew too much and had become Cumbersome Clones.

Which begs the question,

"Is the DNA found in this grave identical to that of Sir Faul McCartney ?"

Stranger in a Strange Land:

A Precedent for Faul?

by Lewis Carroll 8.22.2013

(the excerpt from the book is for educational purposes only)

﻿

One of today's widely recognized science fiction all-time classics is the 1961 novel by Robert A. Heinlein, Stranger in a Strange Land. It's been sitting on a shelf in my rather large collection of classic fiction books for years, but recently I decided to add it to my current reading list. Imagine my surprise when Chapter 5 revealed a passage about a corrupt government using a double to fool the public.

Heinlein creates the following scenario in the beginning of the book: in the future, when the world is united into 'the Federation' (New World Order), a manned spacecraft travels to Mars for the first time. Two of the crew are taking their baby with them to Mars. The ship crashes and only the baby survives as the lone castaway. The baby is adopted by Martians and grows to be a man, knowing only the Martian culture.

Another Federation spacecraft is sent to Mars to rescue the young man named Valentine Michael Smith and to bring him back to Earth, which they do successfully. Smith, bewildered, confused and in no satisfactory mental state to be introduced to the public, languishes in a high security, heavily guarded hospital room. The press and the public are very eager to see and hear the now world famous Smith in order to be reassured that everything is alright, normal and that Smith is happy and healthy.

Joe Douglas, the Secretary General of the Federation, introduces Smith on live, worldwide 'stereo tank' (3-D holographic television). Watching the broadcast are Jill, one of Smith's nurses, and her boyfriend, an investigative reporter named Ben. They have been paranoid (for good reason) that secret agents have been watching their every move. Ben had outfitted Jill with a secret recording device to use when she was in the hospital room of Smith, the 'Man from Mars'. The corrupt Douglas, surrounded by his corrupt staff and secret police, stages the live propaganda event, introducing to the media and the public an impostor, a double for Smith...

"---and so, friends, I have the honor to bring you now our fellow citizen Valentine Michael Smith, the Man from Mars! Mike, we all know you are tired and have not been well --- but will you say a few words to your friends? They all want to see you."

The stereo scene in the tank dissolved to a semi-close-up of a man in a wheel chair. Hovering over him like a favorite uncle was Douglas and on the other side of the chair was a nurse, stiff, starched and photogenic.

The interview was not long. The smooth babyface of the man in the chair broke into a shy smile; he looked at the cameras and said, "Hello, folks. Excuse me for sitting down. I'm still weak." He seemed to speak with difficulty and once the nurse interrupted to take his pulse.

In answer to Douglas, he paid compliments to Captain van Tromp and the crew of the Champion, thanked everyone for his rescue, and said that everyone on Mars was terribly excited over contact with Earth and that he hoped to help in welding strong and friendly relations between the two planets. The nurse interrupted again, but Douglas said gently, "Mike, do you feel strong enough for just one more question?"

"Sure, Mr. Douglas --- if I can answer it."

"Mike, what do you think of the girls here on Earth?"

"Gee!"

The baby face looked awestruck and ecstatic and turned pink. The scene dissolved again to the head and shoulders of the Secretary General. "Mike asked me to tell you," he went on in fatherly tones, "that he will be back to see you as soon as he can. He has to build up his muscles, you know. The gravity of Earth is as rough on him as the gravity of Jupiter would be to us. Possibly next week, if the doctors say he is strong enough." The scene shifted back to the exponents of Wise Girl lozenges (commercial sponsor) and a quick one-act playlet made clear that a girl who did not use them was not only out of her mind but undoubtedly a syntho in the hay, as well; men would cross the street to avoid her. Ben switched to another channel, then turned to Jill and said, moodily, "Well, I can tear up tomorrow's column and look around for a new subject to plug. They not only made my today's squawk look silly but it appears that Douglas has him safely under his thumb."

"Ben!"

"Huh?"

"That's not the Man from Mars!"

"What? Baby, are you sure?"

"Sure I'm sure! Oh, it looked like him, it looked a great deal like him. Even the voice was similar. But it was not the patient I saw in that guarded room."

Ben tried to shake her conviction. He pointed out that several dozen other persons were known to have seen Smith --- guards, interns, male nurses, the captain and crew of the Champion, probably others. Quite a few of that list must have seen this newscast --- or at least the administration would have to assume that some of them would see it and spot the substitution... if there had been a substitution. It did not make sense --- too great a risk.

Jill did not offer logical rebuttal; she simply stuck out her lower lip and insisted that the person on stereo (TV) was not the patient she had met. Finally, she said angrily, "All right, all right, have it your own way! I can't prove I'm right --- so I must be wrong. Men!"

"Now, Jill..."

"Please take me home."

Ben silently went for a (flying) cab. He did not accept one from outside the restaurant even though he no longer thought that anyone would be taking interest in his movements; he selected one from the landing flat of a hotel across the way. Jill remained chilly on the flight back. Presently Ben got out the transcripts of the sounds picked up from Smith's hospital room and reread them. He read them still again, thought for a while, and said, "Jill?"

"Yes, Mr. Caxton?"

"I'll 'mister' you! Look, Jill, I'm sorry, I apologize. I was wrong."

"And what leads you to this momentous conclusion?"

He slapped the folded papers against his palm. "This Smith could not possibly have been showing this behavior yesterday and the day before and then have given that interview tonight. He would have flipped his controls... gone into one of those trance things."

"I am gratified that you have finally seen the obvious."

"Jill, will you kindly kick me in the face a couple of times, then let up? This is serious. Do you know what this means?"

"It means they used an actor to fake an interview. I told you that an hour ago."

"Sure. An actor and a good one, carefully typed and coached. But it implies much more than that. As I see it, there are two possibilities. The first is that Smith is dead and ---"

"Dead!" Jill suddenly was back in that curious water-drinking ceremony (Martian cultural rite she saw Smith perform in his hospital room) and felt the strange , warm, unworldly flavor of Smith's personality, felt it with unbearable sorrow.

"Maybe. In which case this ringer will be allowed to stay 'alive' for a week or ten days, until they have time to draw up whatever papers they want him to sign. Then, the ringer will 'die' and they will ship him out of town, probably with a hypnotic injunction not to talk so strong that he would choke up with asthma if he tried to spill it --- or maybe even a transorbital lobotomy if the boys are playing for keeps. But if Smith is dead, we can just forget it; we'll never be able to prove the truth. So let's assume that he is still alive."

"Oh, I do hope so."

"If he is still alive, it could be that there is nothing sinister about it. After all, a lot of public figures use doubles for some of their appearances; it does not even annoy the public because every time a yokel thinks that he has spotted a double it makes him feel smart and in the know. So it may be that the administration has just yielded to public demand and given them that look at the Man from Mars we have all been yapping for. It could be that in two or three weeks our friend Smith will be in shape to stand the strain of public appearances, at which time they will trot him out. But I doubt it like hell!"

"Why?"

"Use your pretty curly head. The Honorable Joe Douglas has already made one attempt to squeeze out of Smith what he wants... and failed miserably. But Douglas can't afford to fail. So I think he will bury Smith deeper than ever... and that is the last we will ever see of the true Man from Mars."

"Kill him?" Jill said slowly.

So, there you have it. A word for word excerpt from the 1961 science fiction classic, Stranger in a Strange Land. The explanations in parentheses were my own.

Monday, August 5, 2013

A couple of weeks ago, I listened to an interview by Andrew Johnson with Tina Foster and subsequently remembered the BBC 'Our World' transmission of 'All You Need Is Love' which was broadcast on 25th June 1967. After watching it again, and observing that both Mick Jagger and Keith Richards can be clearly seen in the studio, I wondered why they were there and why they were taking part in a deception being played out to a worldwide audience? I say this because the forensic evidence shows that it was not James Paul McCartney performing as one of the Beatles and obviously the Rolling Stones must have known this.

In an attempt to shed some light on how the Rolling Stones were affected by James Paul McCartney's replacement, I decided to look closely at their artistic work released after the transmission date. As you will see, there are some possible references and connections which are both interesting and troubling. Below is the order in which I looked at the singles and albums together with my thoughts during the process as it unfolded...